Founded by André Bloc in 1930, L’architecture d’aujourd’hui was instrumental in promoting the discourse and image of modern architecture. In the same year the review produced three documentaries directed by Pierre Chenal, which were presented in Paris in May 1931: Bâtir, Trois Chantiers, and the eponymous L’architecture d’aujourd’hui. The latter focused on the work of Auguste Perret, Robert Mallet-Stevens and Le Corbusier, who co-scripted the film and played a key role in the making of the trilogy. An original score based on a march rhythm was composed by his brother, Albert Jeanneret, but has since been lost. Le Corbusier, who had only met Chenal shortly before the documentaries were shot, praised his ability to capture the ‘truth’ of the new architecture on film. Possibly edited by Le Corbusier himself, L’architecture d’aujourd’hui features his architecture as the sole protagonist. After showing three Parisian villas and the housing complex at Pessac, the film ends with the Voisin plan: the radical proposal in which a modern district made of steel-and-glass skyscrapers and apartment blocks linked by motorways would replace the insalubrious ‘slums’ of the city centre. The resolute hand gesturing over the maquette summons the main aspects of Le Corbusier’s vision for the “radiant city” – sun, space, and greenery.